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This paper describes an analysis of NMR dipolar couplings in a bilayer formed by dimyristoylphosphatidylcholine (DMPC). The couplings are calculated from a trajectory generated in a molecular dynamics (MD) simulation based on a realistic atom−atom interaction potential. The analysis is carried out employing a recently developed approach that focuses on the construction of the conformational distribution function. This approach is a combination of two models, the additive potential (AP) model and the maximum entropy (ME) method, and is therefore called APME. In contrast to the AP model, the APME procedure does not require an intuition-based choice of the functional form of the torsional potential and is, unlike the ME method, applicable to weakly ordered systems. The conformational distribution function for the glycerol moiety of the DMPC molecule derived from the APME analysis of the dipolar couplings is in reasonable agreement with the “true” distributions calculated from the trajectory. Analyses of dipolar couplings derived from MD trajectories can, in general, serve as guidelines for experimental investigations of bilayers and other complex biological systems.

This article deals with the Swedish translation (1968/1998) of the Dutch picture book Nijntje in de sneeuw (‘Nijntje in the snow’) by Dick Bruna (1963). Working within descriptive translation studies, I analyse how the translated text is influenced and manipulated by sociocultural and literary norms in the target culture. Specific focus is on the way in which child images are expressed through words and pictures in the picture book text and how child images consequently change in translation. In order to analyse how both words and pictures create meaning in the source text (ST) and target text (TT), I use a multimodal text analysis as proposed by Kress and Van Leeuwen (2006). As multimodal text analysis has not been widely used within translation studies (and to the knowledge of the author not so much in Dutch text research either), this article also presents some methodological considerations. The outcome of the multimodal translation analysis shows that while Nijntje (Miffy) visually stands as an international icon, this visual image is combined with different child images in the written text components of the ST and TT. The analysis also shows that pictures are used in different ways and can acquire different potential meanings in ST and TT.

This article is written in Dutch and discusses some of the main issues in my doctoral thesis "Nederländska bilderböcker blir svenska. En multimodal översättningsanalys" (2010). The thesis deals with the translation of Dutch and Flemish picture books between 1995 and 2006. It includes a general bibliographical study and also a more detailed translation analysis about the Miffy-books by Dutch picture book artits Dick Bruna. In order to analyse how both words and images are translated, multimodal text analysis is integrated as a tool in the translation analysis.

Because of their prominent use of artistic illustrations, contemporary Flemish picture books have often been referred to as ‘‘aesthetic picture books’’ in Flanders. In this article, I will argue that the use of art and references to art by no means is a feature that is unique for contemporary Flemish picture books. The use of artistic allusions is only one of many characteristics that contemporary Flemish picture books share with what internationally has come to be described as ‘‘postmodern picture books’’. Typical postmodern features such as play, parody, intertextuality and interaction (between text and reader) will consequently be identified and analysed in works by several Flemish picture book artists. Because of these postmodern features, picture books are furthermore described as ‘‘semiotic playgrounds’’ where readers can become (inter)active readers.

In this article some postmodern tendencies in contemporary Flemish picture books are discussed. The theoretical discussion takes its outcome in the anthology Postmodern Picturebooks, edited by Lawrence R. Sipe and Sylvia Pantaleo. Main themes in the article are play, parody, intertextuality and interaction. Work of following Flemish picture book artists is discussed: Isabelle Vandenabeele, Gerda Dendooven, Pieter Gaudesaboos and Tom Schamp.